关于父子关系的英文论文谁能给一篇 今天晚上吧

关于父子关系的英文论文谁能给一篇 今天晚上吧
关于父子关系的英文论文谁能给一篇
今天晚上吧

关于父子关系的英文论文谁能给一篇 今天晚上吧
1
Father And Son
As related to Absalom and Achitophel
Absalom and Achitophel begins in the world of Old Testament history. The
vague biblical past of the opening lines lets the narrative to be set
from 2 Samuel in a wide historical frame that hopes to legitimize the
king's promiscuity by associating the king as father of the land:
In pious times, e'r priestcraft did begin, Before polygamy was made a sin;
When one man on many multiplied his kind, Ere one to one was cursedly confined;
When nature prompted and no law denied Promiscuous use of concubine and bride;
Then Israel's monarch after Heaven's own heart, His vigorous warmth did variously impart
To wives and slaves; and, wide as his command, Scattered his Maker's image through the land. (l. 1-10)
The association between God and David is made through the clever
comparison of divine and human fertility. There is some irony in seeing
God's abundant creation reflected in the king's sexual extravagances, but
the irony doesn't reduce the status of the king. It serves, at the
beginning of the poem, to separate the person of the king from the office
of the king.
The opening scenes emphasize David as an indulgent father, not as head of
the country. David's pleasure in Absalom parallels God's attitude toward
Adam in the Garden. All of Absalom's motions are accompanied with grace,
And paradise was opened in his face.
With secret joy indulgent David viewed
His youthful image in his son renewed:
To all his wishes nothing he denied;
And made the charming Annabel his bride. (l. 29-34)
The easy going nature of Absalom, put together with the specific
reference to paradise, help establish him as the figure from Eden that
will be seen again in the temptation. The characterization of David
emphasizes a combination of divine and human paternity. Like God, David
takes great joy in his creation; like God, he supplies Absalom with a
worthwhile bride. This serious presentation of David in his fatherly joy
and indulgence, as compared to the divine model, cannot be taken as
criticism of the king. It strengthens the casual relationship between God
The emphasis is on David's paternal indulgence. The initial presentation
of David and Absalom closes with a declaration of the calm of David's
reign:
Thus praised and lived the noble youth remained,
While David, undisturbed, in Sion reigned.
Next, Achitophel calls Absalom the country's cloudy pillar, guardian
fire, and second Moses (ll. 233-35). All three are familiar biblical
signs; and the pillar and fire are promised in Isaiah as signs of god's
renewed presence among the Israelites (Isaiah 4:5). The typical signs
that Achitophel mentions have general biblical meaning and would have
been persuasive for Absalom, the biblical prince.
In convincing Absalom of his messianic role, Achitophel portrays David as
an old man with declining powers and as a fallen Lucifer:
Had thus old David, from whose loins you spring,
Not dared, when Fortune called him, to be king,
At Gath an exile he might still remain,
And heaven's anointing oil had been in vain.
Let his successful youth your hopes engage;
But shun the example of declining age;
Behold him setting in western skies,
The shadows lengthening as the vapors rise.
He is not now, as when on Jordan's sand
The joyful people thronged to see him land,
Covering the beach, and blackening all the strand;
But, like the Prince of Angels, from his height,
Comes tumbling downward with diminished light. (ll. 262-274)
There is a great deal of irony in this, warning of Achitophel's deceptive
persuasion. Hoping to convince Absalom of the practicality of a "pleasing
rape upon the crown" (l 474), Achitophel associates David's old age with
his supposed political impotence. Achitophel attempts to remove the
kingship and the question of secession from the authority of Heaven and
the law of God by falsifying the account of David's return from exile.
According to Achitophel, David was called from Gath by fortune; according
to the Bible, he was called from exile by god and anointed by Heaven.
Achitophel's argument makes the sanctity of heaven dependent on the
arbitrary role of fortune's wheel, whose prizes must be grabbed. In the
context of biblical history, that ethic obviously contradicts the moral
code and world order implied by God's written law.
The end of Achitophel's description is the simile "like the Prince of
Angels," used to epitomize David's decline. Achitophel chooses this image
to contrast the descending, faltering light of David's kingship with the
rising royal planet of Absalom's aspirations; but the use of this simile
reveals more than the wordy resemblance. By identifying Godlike David
with Satan, Achitophel joins forces with the devil himself as a defamer
of God.
As the picture of David comes to a close, Achitophel characterizes
David's impotance more subtly. Asserting that David is powerless to
resist Absalom's claim to the throne, Achitophel asks, "What strength can
he to your designs oppose, / Naked of friends, and round beset with
foes?" (l. 279-80). The second line of the couplet alludes to Samson and
suggests the description, from Milton, of Samson being blind among his
enemies:
Betray'd, Captiv'd, and both my eyes put out,
Made of my enemies the scorn and gaze;
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Blind among enemies, O worse than chains,
Dungeon, or beggary, or decrepit age! (Samson Agonisties ll. 33-34,
68-69)
There are two ways of reading this allusion back into Achitophel's
portrait of David. The most obvious is that Achitophel unknowingly
predicts the final triumph of David as a Samson figure who wreaks havoc
on his enemies and asserts the force of God's law.
especially Christ among enemies and false friends. That relationship also
suggests the final victory of God over Satan and all antichrists.
Moreover, David as paralleled with Samson, given the typical relationship
that both Old Testament figures bear to Christ, plays off nicely against
David's own reference to Absalom as a false Samson, a pretend Messiah:
If my young Samson will pretend a call
To shake the column, let him share the fall. (l 955-56)
The couplet works in two ways, characterizing Absalom's revolt and
messianic claim as a 'fall' and ironically opposing it to the true
messianic 'call' and 'fall' to sacrifice and death which Samson, as type
of Christ, exemplifies. The words of Achitophel and the drama of his
temptation of Absalom characterize the two figures and confirm the
original relationship that has been established between David and God.
Throughout the poem that relationship is reconfirmed by association, by
direct assertion, and by the fallen characters' version of what is
asserted to be the true order of things. Those reconfirmations of David's
relationship with God - especially the increasing emphasis on David's
kingly role - work to transform David from private father to public king.
Once more the godlike David was restored,
And willing nations knew their lawful lord. (l. 1030-31)
2
A Son's Love for His Father
A son’s love for his father is sometimes not acknowledged until he is an adult. Children often become so wrapped up in their own tasks and obligations that they take for granted the simple acts of loving support given to them by their parents. And parents sometimes feel scared that obvious signs of love and emotion will scare off a child, so they just do all they can to make the child’s life run smoothly and try to fade into the background when it comes to tender moments. In the poem “Those Winter Sundays,” Robert Hayden uses figurative language and other literary devices to show a father’s love for his son as well as the son’s realization of that love.
The cold that Hayden describes in the house is a reoccurring hardship that the father must face in his life. “Sundays too my father got up early and put on his clothes in the blue black cold,” (lines 1-2, stanza 1). The father woke up early on his treasured time off from work to make sure that the house was warm for his son. The cold is described as if it were a tangible item causing the reader to be drawn in to the poem. “No one ever thanked him.” (line 5, stanza 1). This quote illustrates the fact that the father did this not for praise or to make himself look better in the eyes of his son, but because he would rather compromise his own comfort and enjoyment then have his son start the day off in the cold.
Hayden uses figurative language to bring alive the cold and to make it seem like more of an enemy for the father. “fearing the chronic angers of that house,” (line 4, stanza 2). The son is speaking of the dreaded cold, which he wishes that he did not have to face just as much as the father. It shows that the father was really making a contribution towards the happiness of the son by making the effort to rid the house of it. “…and hear the cold splintering, breaking.” (line 1, stanza 2). In this line, Hayden uses imagery to represent the fire that the father builds which helps to defeat the cold. The splintering and breaking are the sounds of the logs being burnt and, as the son finds later, the cold dying.
Flashback is used to show the true reason behind the father’s acts and the son’s subsequent comprehension of his father’s true feelings. “…driven out the cold and polished my good shoes as well. What did I know, what did I know of love’s austere and lonely offices?” (lines 2-5, stanza 3). The son realizes here that his father did the things that he had always simply thought of as done. He looks back and sees how much his father must have done for him without being acknowledged.
Throughout the poem, Hayden uses the imagery and other forms of figurative language as well as flashback techniques and a consistent setting to paint a picture for the reader about the relationship between the father and son. He describes how the father shows his affection for his son and how the son takes that in. At the end of the poem, the son contemplates his father’s motives and finds the true emotion behind the father’s actions.
3
Father and Son Relationship in Hamlet
Hamlet, of the play, Hamlet, by William Shakespeare, is a young man with many distinctive characteristics. He is the loving and beloved son of Hamlet, the deceased King of Denmark. He is talented in many ways, as actor, athlete, and scholar. Prince Hamlet draws upon many of his talents as he goes through a remarkable metamorphosis, changing from an average, responsible, young Prince to an apparently mad, raging son intent upon avenging his father’s untimely death.
In the beginning of Hamlet, the Prince behaves as any normal person would following the death of a loved one. Not only is this a loved one, but an extra special someone; it is his loving father whom he adored. Hamlet is grief stricken, depressed, and even angry that his mother remarried so soon after his father’s death. Having witnessed how his father had treated his mother with great love and respect, Hamlet cannot understand how his mother could shorten the grieving period so greatly to marry someone like Uncle Claudius. He is incapable of rationalizing her deeds and he is obsessed by her actions.
Throughout the play Hamlet is in constant conflict with himself. An appearance of a ghost claiming to be his father, “I am thy father’s spirit”(I.v.14) aggravates his grief, nearly causing him to commit suicide and leaving him deeply disgusted and angered. Upon speaking with his ghost-father, Hamlet learns that his uncle-stepfather killed Hamlet the King. “The serpent that did sting thy father’s life Now wears his crown”(I.v.45-46) Hamlet is beside himself and becomes obsessed with plotting and planning revenge for the death of his father.
Hamlet struggles constantly, trying to decide how he should go about avenging the loss of his father to his deceitful uncle-stepfather. Planning to kill him isn’t easy. Hamlet is given many opportunities to kill Claudius, but keeps stalling for time to be certain the ghost had spoken the truth about the murder. Finally, Hamlet decides upon a plan. “the play’s the thing/Wherein I’ll catch the conscience of the King”(II.ii.612-613). He will stage a performance for the King that would actually be a reenactment of his father’s murder. The play he chooses to reenact is entitled "The Murder of Gonzago" with a few changes made to accommodate Hamlet’s new lines and actions reflecting Claudius murdering his father. Upon seeing Claudius’s crazy behavior during and following Hamlet’s play, Hamlet realizes that his ghost-father had spoken the truth. This provides all the reassurance needed for Hamlet to carry out his plot to kill Claudius.
Hamlet appears insane throughout the play, but only to the unwary eye. “As I perchance hereafter shall think meet To put an antic position on”(I.v.196-197). He has put on this act to throw off his uncle’s spies. Though Hamlet is obviously intelligent, his character uses his talents as he evolves through many changes from a normal young prince to a grief-stricken, loving son of a beloved father to an apparently madman. Any son who possesses such intense feelings and goes to such great lengths to avenge his father bears testimony to an endearing father-son relationship. A son must have utmost respect and undying love for his father to carry out such a vigorous retaliation. Hamlet gives his life in the pursuit of justice, as he knows it. What more could a ghost ask of anyone?
4
The Father and Son Relationship in Song of Solomon

The book called Song of Solomon, by Toni Morrison, deals with many real life issues, most of which are illustrated by the relationships between different family members.

One archetypal relationship that Morrison includes in her book is the father:son relationship. Although it is obvious that Morrison does talk about this topic, it is not so obvious what she is trying to say about it. So, one might ask, how does the author establish the father:son relationships throughout Song of Solomon and do they fit some sort of archetype? To answer a question such as this, it would be beneficial to examine the actual father:son relationships throughout the book.

One established father:son relationships that is significant to this issue is the one between Milkman and Macon. From the start, Macon objected to Milkman even being born; he forced Ruth to do things to her body that could possibly kill the fetus. With a little help from Pilate, however, Milkman was allowed into the world.

Macon, perhaps instigated by never having a mother and seeing his own father killed, has always appeared to be a cold and unforgiving parent even to his other children besides Milkman, but since Macon heard that his son¹s nickname was ³Milkman² he has seen him as a symbol of his disgust for his wife and lost a lot of respect for his son and became even colder towards him. The only time Macon did spend time with Milkman, he spent it boasting about his own great upbringing, warning him to stay away from Pilate and telling him about the embarrassing actions of Ruth. This is the manner in which Morrison establishes the relationship between Macon and Milkman in the first part of the book.

As Milkman grows up, he recognizes the emotional distance between his father and himself. He goes his own way with a few skirmishes here and there and later he even manages to hit his own father. As Macon and Milkman grow apart and go their separate ways, Milkman doesn¹t even think twice about it and just continues on with his life as if nothing was different.

Near the end of the book Milkman seems to change his view of his father, with some help from the positive memories of the old men in the passage. Milkman grew up thinking that his father was a cold-hearted, hot tempered control freak who was only interested in gaining money and property. He came to realize that although there was some truth to what he thought, Macon was not inhuman. This is displayed in the passage when it states, ³His own father¹s words came back to him:
ŒI worked right alongside my father. Right alongside him.²
Even though Macon was against Milkman¹s birth, he came to cherish his only son in his own way. Probably under the impression that showing affection was a sign of a weak man, Macon held back what feelings he had for his son.

Milkman¹s feelings about his father¹s shows of affection are described when Morrison writes,
³Milkman thought then that his father was boasting of his manliness as a child. Now he knew he had been saying something else.²

One of the few good memories that Macon had of his father was spending time working alongside his father. Milkman finally figured out that Macon¹s description of his time spent working with his father were meant to as a show of affection for Milkman and to cause Milkman to see the similarities between Macon¹s relationship with his father and Milkman¹s relationship with Macon. Milkman¹s revelation is explained,
³That he loved his father; had an intimate relationship with him; that his father loved him, trusted him, and found him worthy of working Œright alongside¹ him.²
He most likely remembers gaining a great amount of respect for his father by learning and watching how his father made a living. Milkman now saw that all those times that he spent with Macon down in the workshop and being taught how to run a business were his father¹s mild way of showing love.

When Macon would tell Milkman about how he worked right alongside his father, he wasn¹t bragging about how masculine he was when he was little, he was attempting to describe the only real time he ever had an intimate relationship with his father. Macon shared what he had with his father with his son. Milkman now realized that there was some substance to his relationship with his father and that it wasn¹t completely disfunctional.
It is not clear whether Toni Morrison intended this part of the storyline to fit an archetype, but no matter what she intended, it does. It is the common story of two related characters who never really appreciate each other, or do appreciate each other but separate and never really discover the true value of their relationship with the other character until it is too late can be found in this book.